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Features AUGUST 28, 2018

What San Diego Women Want

53 working women share their compelling stories on navigating pay equity, the baby penalty, #MeToo, and yes, not being afraid of the word “ambition” 

What San Diego Women Want
What San Diego Women Want

What San Diego Women Want

In 2018, women graduate from college in greater numbers than men, and we account for just as many entry-level hires—with pretty equal salaries. But mid-career, around the time that many women start families and/or could pursue upper management roles, we stall. On average, our numbers fall off—the number of hours we continue to put in, the number of dollars we get paid, and the number of us represented in the board room.

There’s even some confusion tangled up in the terminology. For example, a company might compensate workers equally for the same jobs (pay equity). But if most of the executive positions are filled by men, there’s likely still a gender pay gap (which compares the average of men’s salaries to the average of women’s). So women need to fill more leadership positions. And to get there, we need mentoring, executive coaching, helpful networks, and respect in the workplace. To stay there, many require flexible schedules and higher salaries to afford help at home.

Promoting women is an investment with a great return: Studies show that companies perform better when they have women calling the shots. We interviewed dozens of successful women about their rise to the top, how they got there, and what still needs to change.

Choose a Topic

In the Boardroom

Compensation

Communication

Motherhood

Culture

Professional Development


Real Women, Real Advice

In the Boardroom

On having a seat at the table…

“At my last company, I was invited to the board meetings. The entire board was significantly older men. I was quiet and newer to the company. They’d bring the food in those meetings, and before I knew it, I was passing out food and people would wait for me to do it. I realized one day that passing out food is certainly not going to help me become a powerful player in the room.

So, when the food would come to the table, I would leave the room and give them time to sort it out themselves; and then when I came in I might not have had my first choice of entrées, but I was no longer the person who immediately fell into the secretarial/maternal mode. It was a very deliberate decision I made to make sure I was equal to everyone else, even if I was younger and the only woman. Eventually I gained a lot of influence and would often participate or lead those meetings.

Now, if I observe that type of [serving] behavior, I will quietly pull them aside and point it out or ask a man to go serve, because now I’m in a position where I can control the room a little more. Those cues matter.”

—Lynn Herrick, General Counsel, Chief Human Resources Officer and Corporate Secretary, GreatCall

What San Diego Women Want

What San Diego Women Want

Illustration by Verónica Grech

On being skipped over…

“If somebody else had a PhD and an MBA at 29 and was starting a company, I would have thought they were ambitious and successful. I was hearing things like ‘Oh, sweetheart, who’s going to run the company for you?’ Um, excuse me? When I was the CEO [of Cypher Genomics, which she sold to Human Longevity], you shake hands at the beginning of a meeting, and I would be skipped over because they thought I was an assistant or didn’t know what I was doing there. It was super frustrating. I think a lot of it is totally unconscious bias. I filed it away, a kind of motivation like, ‘I’m going to show you that you’re 100 percent wrong about your assumptions and you’re going to wish you had a chance to invest in my company.’”

—Ashley Van Zeeland, President, Yara Bioscience

On becoming a leader…

“The advice I would give a young leader is to be vulnerable. You don’t have to know everything. Being inclusive and asking for people’s opinions and ideas is not a sign of weakness; it’s a sign that you know how to empower your team. I also believe that’s a big difference between men and women. As you sit in a leadership meeting, men have no problem asking questions or challenging. Women start their sentences with ‘I hear you, I understand.’ A man comes off as just talking to get to the bottom of something. It’s not fair, but it’s the reality.”

—Sarah Jennings, Vice President of Sales, Classy

On gaining credibility…

“HR is by far the function where you have the most female representation. Over 60 percent of HR executives are women. That doesn’t mean you have respect at the table at the C level. Early on, at previous organizations, I had to get over that I was the only woman. I had to learn the strategic aspect of my role, to move on from—not necessarily an emotional place, but a soft place, and a ‘people perspective’ only. That meant positioning my function with the group: here are my recommendations, here’s how it’s going to drive the business, here are the tactics to do that, and then demonstrating success and providing metrics along the way. That’s what I had to learn to gain credibility. You have to connect it to the business. Otherwise, it’s a great idea, but how does it drive the business?”

—Sheryl Roland, Vice President of Human Resources, SmartDrive

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Real Women, Real Advice

Compensation

On discovering my worth…

“In 2005, I was sitting at a bar in New York with one of my biggest advocates and mentors. He pulled out his pay stub and showed it to me. The check was for mostly the whole year. It was far more than what I was making. It was far more than I thought even possible. I remember when I later hit that amount. I’m not sure I would have asked for raises or promotions if he hadn’t shared that pay stub with me. Often women are not in these conversations about what’s possible. We need to talk about money more and help women know what is possible.”

—DeAnne Steele, Managing Director, U.S. Trust

On taking time off—and being audited for it…

“I had taken three weeks off of work to get married and embrace a two-week honeymoon with my new husband. I worked extremely hard for over a year to be able to take this time off worry-free.

Little did I know, while I was away my company put my business through an audit to ensure that I really was capable of such success. It was not until I returned that my boss told me what happened, and how they thoroughly investigated my work prior to paying me.

Working very hard and with integrity in order to take the time off and earn a hefty paycheck was something I was very proud of. However, knowing I was doubted really discouraged me and made me feel less valuable than I thought I was to my company. It was humbling. It taught me to never get too confident but to still be grateful for my individual accomplishments.”

—Lara Schulte, CoFounder, Generation.Mom

On when to ask for a promotion…

“Don’t ask for a promotion until you’ve completed a professional development plan. This should be a living document you update regularly with your supervisor and mentor, detailing what gaps to close and milestones to achieve for your next promotion. You must advocate on your own behalf to have continuous professional growth, and it is your responsibility—not your manager’s—to vouch for your progression. Generally speaking, you are promoted when the company requires the role and/or you are already performing at a higher level. Don’t be shy about your ambitions. Ask what the company growth plans require and what you need to accomplish to move up.”

—Dawn Barry, Cofounder and President, Luna DNA

On negotiating a raise…

“As a young manager, I realized I was underpaid and making less than my male counterparts and junior male colleagues. I approached my manager with my résumé and asked him a few questions, including ‘Do you think I’m underpaid?’ and ‘Do you think I’m an A player, or should I take the calls from the competition?’ I negotiated my way to a fair salary and compensation.”

—Dana Alligood, Southern California Market Executive, Bank of America

On asking for pay parity…

“After working at Illumina for 10 years, I decided to stand up for myself and ask my manager to do an adjustment in salary if there was any difference between my peers and myself. It was one of the hardest things I have ever done. Before having the discussion, I practiced what I wanted to say multiple times in front of the mirror. I was surprised: He accepted my request and thanked me for knowing it was my career and if I didn’t care about it, no one would.”

—Ida Khodami, Associate Director of Global Operations, Illumina

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Real Women, Real Advice

Communication

On demanding respect…

“Everyone is coming from a different place; sometimes it’s not from your perspective, and that’s where conflicts or challenges happen. I’ve had team members, both men and women, who have never reported to a woman before. They approach me differently than they would a male supervisor. As women, we shouldn’t be expected to tolerate that kind of behavior. If someone comes and says something disrespectful or rude, would that person ever say that if their supervisor were a man? That tone would never come across. And I’ve had to call them out and say, ‘Look, at the end of the day, the buck stops with me. I’m the supervisor, this is my project, and you need to approach me differently.’ It’s not always easy. Everyone has a story, a background; sometimes we need to put ourselves in their shoes. The more you try to understand their position or reaction, the easier it becomes to deal with the stress. Every time I’ve stepped back and said, ‘What is really going on here?’ I’m able to find a resolution. People like to get into the weeds of what their work is, their contribution is, and make it all about them. And you have to yank them back and really address the issue. It’s not a personal thing. They’ll take you giving constructive criticism as saying they’re not competent in their job. I would say, ‘No, it’s not about competency, it’s about being more diligent about your work.’ For me, it’s separating what’s personal about the situation and what’s the real issue.”

—Susie Harborth, Chief Operating Officer, BioLabs

What San Diego Women Want

What San Diego Women Want

Susie Harborth | Photo: Flavio Scorsato

On finding my voice…

“I finished my undergraduate and master’s degrees from MIT in an accelerated way, and at 22, was the youngest-ever product manager at my company. Being female and young, I was always shy about asking for a raise, asking for a better project, asking to be involved in the next big things, etc. My sister told me that doing excellent work is not enough; to get ahead you need to speak up and ask for what you want. This was not easy for a shy 22-year-old, but I decided to take her advice. I promised myself that every meeting I went to, I would speak up at least once. I immediately saw positive results and impact. I started asking for more growth opportunities, and my lightbulb moment was when a manager told me ‘Oh … I never knew you would be interested,’ and then put me on the project.

I got to be the product lead for the HiSeq X Ten because I was persistent in asking to get involved in launching a product in the sequencing market. The launch of the HiSeq X Ten system was the most successful in the history of Illumina. It can sequence up to 16 human whole genomes in less than three days at a cost of $1,000 per genome; compare this to 2003, when it took 13 years to sequence one human genome and cost about $2.7 billion! That’s 1,581 times faster and 2,700 times cheaper.”

—Pantea Khodami, Senior Market Development Manager, Illumina

On not being intimidated…

“All I wanted was to help alcoholics and addicts find a new way of life. In the ’70s Dr. Tom Rusk wanted to hire me to advocate for drug-free workplace policies to companies. Initially, I told him I didn’t think the San Diego business world was ready for a woman to do that kind of work, and he might want to look at having a man do it instead. This was 45 years ago, and San Diego business was still very much a man’s world (as was the rest of the country). The minute I got in my car to drive away from that meeting, I thought, ‘Why did I turn that job down?’ I wrote him a letter that he still has to this day: ‘Dear Dr. Rusk, I must have been out of my head, because I am the only person who can do that job for you, so I would like to re-interview with you.’ He graciously interviewed me again, and I went to work for him for about five years.

I later formed a nonprofit corporation to meet the needs of people with substance abuse disorders. We now serve 11,000 individuals a year. Can you imagine? If I hadn’t stopped myself from being intimidated, we wouldn’t be serving all those clients who need us today!”

—Jeanne McAlister, Founder and CEO of McAlister Institute

On body language…

“I’ve been working with an executive coach for the last two years. Early on in my career I got feedback on how I came across at meetings, and it wasn’t necessarily the words I was choosing, it was the tone I was using. It was the body posture. So I will very rarely cross my arms in any situation—it comes across as combative, rather than open. I’m constantly sitting in meetings with my hands by my side or on the table; I’m very, very aware of where my hands are, as well as my facial expressions. When I start to feel myself get defensive about something, I have to be very conscious of the tone of my voice, to make sure that I’m coming across as truly wanting to solve the issue and not taking it personally.”

—Sarah Jennings, Vice President of Sales, Classy

On learning to call the shots…

“When I first started working for myself, I had to gain the confidence to distinguish the nuances of working for my clients as opposed to working with my clients. I wanted to establish a four-day in-office workweek, but was nervous clients might not feel confident about this. I gradually came to the realization that this was not something I needed to ask for—it was something I needed to set forth as the head of my own firm. I sent an email letting clients know this was the new procedure, and although I was not physically in-office on Fridays, I was still available and all time-sensitive matters would be handled.”

—GG Benitez, CEO, GG Benitez & Associates Public Relations

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Real Women, Real Advice

Motherhood

On being a pregnant CEO…

“I was pregnant raising money for [Cypher Genomics], and I’d hear, ‘Jeez, do you really think you’re going to come back?’ A male CEO, they have kids all the time. I guarantee they’re not asked, ‘Are you going to come back after the birth of your child?’ I was surprised they were asking that. The company was my first baby. I willed that thing into existence, so ‘Nah, I’m good now’ was never a thought in my head.”

—Ashley Van Zeeland, President, Yara Bioscience

On pumping at work…

“I’ve pumped in filthy bathrooms, dirty closets, and in cars on the way to meetings. Not exactly the most sanitary way to prepare your newborn’s food. When the PR firm I worked for moved to a newly built coworking space, Moniker Commons, we asked the owners to make a space for pumping. And they did! They built out an unused closet and created a nursing lounge with a recliner, table, privacy sign, and electrical power. I was able to have privacy in a clean space outside of a bathroom, and it helped me pump efficiently so I could get back to my desk. You never know until you ask, and I’m proud that future women will have a space to pump for their babies.

Don’t eschew motherhood in the workplace. Too often we’re made to feel that we have to pretend we don’t have kids so we aren’t discriminated against. If anything, being a working mother means we are capable of more. We multitask like nobody’s business, and we have zero time to slack off.”

—Kelly Brown, Founder, Kelly Public Relations

On offering to step down…

“I took a big risk when I asked the board of directors for flexible work hours once my youngest child was born. As the CEO, I recognized this may not be workable for the company, but I also knew I couldn’t care for my new baby in the current work situation. I offered to stay on as CEO, transition to another position, or to resign if that was best for the company. My oldest child had special needs, so in order to adequately care for him and a newborn, I needed to reduce my hours. The organization already offered a variety of working arrangements for parents, but I recognized that the role of CEO was different from other positions. I wanted very much for the organization to succeed—something that was more important than my desire to remain on as CEO—so I felt very much at peace about my decision. After a brief deliberation, the board approved my request. I was gratified to be so valued and trusted by the board of directors.”

—Michaelene Fredenburg, President and CEO, Life Perspectives

What San Diego Women Want

What San Diego Women Want

Illustration by Verónica Grech

On asking for help…

“When I was starting out, I wish I had known I should focus on doing what only I could do. Only I could lead my business and be a mom to my kids. But lots of other people could do administrative work, housework, etc. I should have outsourced sooner. My other piece of advice for working mothers is to figure out what your minimum effective dose of self-care is and make that happen every day.”

—Lisa Druxman, Founder, Fit4Mom

On being resilient…

“Running an initial public offering during the San Diego wildfires with a husband at sea and a child with a newly diagnosed medical condition just about crushed me. I was reminded of the quote by Reed Markham, former speechwriter for the Supreme Court: ‘Successful leaders see the opportunities in every difficulty rather than the difficulty in every opportunity.’”

—Julie Ames, Vice President of Corporate Communications, Biocom

On the motherhood gap in employment…

“After taking over five years off to be a stay-at-home mom, I decided to freshen up my résumé and go back to work as a business systems analyst. I got lots of attention from recruiters at first, then they would go cold when they saw I had been out of the workforce for several years. Ultimately that gap in employment was the reason I didn’t make it past the first interview phase. It was both a surprise and very frustrating! I was definitely thinking I should have gone back sooner.

After months of this, I decided to embrace my inner entrepreneur and launch a business I was passionate about. Looking back, I realize I wouldn’t have pursued my dreams if I’d gone back to working full-time for someone else.”

—Suni Gargaro, Founder and Designer, Sunia Yoga

On rewriting parental leave…

“Since I have my own business, I have to ask myself what I need, as well as communicate that with all my business partners and team members. When I went back to work after having my third daughter, I decided how much maternity leave I would need to recover and made sure everyone else on my team was okay with it. I’m grateful to be part of a business that’s taking a stand with paid family leave, which includes 12 weeks of fully paid leave for moms, dads, and adoptive parents, and up to six additional weeks paid for recovering from childbirth. I want every mom and dad to feel comfortable with that transition from the home back to the office.”

—Cassandra Curtis, Cofounder and Chief Innovation Officer, Once Upon a Farm

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Real Women, Real Advice

Culture

On becoming my own boss…

“I had a high school counselor tell me retail was in my blood. I went into the Gap retail management training program and worked for them for almost eight years in nearly every product category, deciding what’s going in stores. It bred a foundation for understanding consumer trends and the marketplace and doing that at a large scale. Right when I moved to San Francisco I started noticing changes in my body—losing hair, cystic acne, I’d cry on the bus to work for no apparent reason. No doctor could tell me what was going on. On my downtime at work, I was reading wellness blogs. I was attending wellness networking events versus those of the industry I was in. I started thinking, ‘Has this experience awakened this newfound calling?’ And the answer was yes. I enrolled in the Institute of Integrative Nutrition remotely. My husband had an incredible job waiting for him here. We took the leap.

That’s when I decided to launch [the website] Good Life—working one on one with women on their wellness goals. I coached women on how to find accessibility, ease, and fun in living well. It was so rewarding, and I was consistently making product recommendations. But I’m like, “Why am I sending them to Amazon? I know how to do this! I’ve been in retail for 14 years!’

I launched a shop encouraging women to come in and relate with each other. It’s a way for them to connect and share their health journey and have a hug or a tear over it. That is unlike anything I’ve experienced through the digital world. It’s hard to offer that connection on an online platform. It’s my favorite part of owning a brick and mortar.”

—Leah Kirpalani, Founder and Owner, Shop Good Beauty Boutique

What San Diego Women Want

What San Diego Women Want

Leah Kirpalani | Photo: Flavio Scorsato

On being candid with the boss…

“In one of my first jobs I was one of very few females with an all-male management structure. It was hard to participate in the water cooler chat that was centered on football and ‘guy movie’ quotes. When I tried to participate it was awkward for all of us. Up until that point I had turned a blind eye to gender differences. But comments like ‘You probably never want kids, right?’ started to sting. I decided to share with my manager that I felt isolated and the diversity I brought was not appreciated. As I did, my eyes started to water up and to my surprise, so did his. He just looked at me and said, ‘I am so sorry; please tell me what I can do to help. I want to support you.’ In this moment I realized men need to be part of the solution and men want to be part of the solution.”

—Aboli Rane, Senior Regional Segment Manager, Illumina

On not speaking their language…

“It felt like I always had to work harder than the guys. The decision-makers are men, and they like their buddies. I always felt at a disadvantage because I don’t talk sports. They have a natural connection to each other. Few general managers of hotels are women. I worked at a hotel chain that only averaged about 8 percent female GMs over the course of my 20-plus years with the company.”

—Mairead Hennessy, General Manager, Estancia La Jolla Hotel & Spa

On rewriting norms…

“The first day I showed up at work, all the mothers were abuzz that the new head of school had car seats. For 130 years, the prior leaders were always religious sisters who lived on campus and did not have children or husbands to balance. With three little ones, I find that the community and I are constantly rewriting new norms to accommodate a new chapter for OLP where a woman who is married, and has children, is now leading the school.

Although many times we think of education as a female-friendly work environment, it is not nearly as common for a young woman to be leading a secondary school. I remember when I became principal [at my alma mater in Northern California], I was pregnant at the time, and I received many questions about how I was going to handle running a school of over 1,200 students while caring for an infant. Even after my third pregnancy while serving at OLP, the questions still kept coming! It’s still a shock to many, to see a woman with young children as a top executive. Breaking barriers is really about creating a new norm, a new model, that others can follow.”

—Lauren Lek, Head of School, Academy of Our Lady of Peace

On male versus female entrepreneurs…

“The students in my entrepreneurship classes are about 60 percent men, 40 percent women. The women are more likely to come up with ideas that are not just profit-driven but also help society. Women are more likely to think, ‘If this business started up, what are the changes I’m bringing to the customer and the people involved?’ Men are more likely to focus on a novel idea and less likely to think about the social and community aspects of it. Men are more interested in doing something others haven’t done before. There are exceptions, but in general that’s what I observe.”

—Congcong Zheng, Associate Professor of Entrepreneurship, Fowler College of Business at San Diego State University

On shifting the paradigm…

“I have some amazing women executive friends. We were having a conversation and I brought up the fact that Salesforce just created gender equity for hundreds of thousands of employees nationally, to the tune of $3 million. We were saying how long all of us knew about pay inequity. Many of these people are HR execs and, of course, they see what people are getting paid. One said, ‘When they made me a VP, I knew I was getting paid 70 percent of all the other VPs in the organization, but I was so grateful to be within the executive ranks that I wasn’t about to make waves.’ It’s a hard-won privilege to be recognized in that way. And it’s not instant, like, ‘Now I’m in power like everybody else.’ It’s, ‘Now I really have to prove that I’m equal to everybody else.’ There wasn’t one of us who hadn’t had that feeling. But you’ve earned this, girl, you’ve got this, and you deserve to earn what any other executive would doing what you do.”

—Susan Penn, Founder and CEO, Reinventure Coaching and Consulting

What San Diego Women Want

What San Diego Women Want

Illustration by Verónica Grech

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Real Women, Real Advice

Professional Development

On finding mentors…

“Find as many male mentors as you find female mentors. It’s traditionally their game, so if you want to play you need to learn from the people who have played it well and who understand the rules.

I have what I like to call my own board of directors, which are people that I’ve either worked for in the past or met through an organization or event. They’re not in my current work environment, so I can be honest with them. I tap into them a lot—some every three to six months—and some are on my favorites list on my phone. Even from a young age, you should have that. It’s a secret weapon. Tap into people and their expertise.”

—Lynn Herrick, General Counsel, Chief Human Resources Officer, and Corporate Secretary, GreatCall

On embracing ambition…

“To feel valued or worthwhile—and this is well documented—women feel they have to be masters at what they do. They spend all their time and energy on mastering a particular software or service. What happens is, they do it to the detriment of building a network, and for those that do, they’re so reticent to leverage that network and build the allies, coalition, and ecosystem that allow women to climb. You’re so focused on your job, you lose sight of your career. You wonder why it’s been 15 years and you haven’t gotten anywhere? You’re irreplaceable. We have to stop being tacticians and be strategic in how we show up in our jobs, our careers, and our society.

If being a strong self-advocate is too much to swallow, if that image doesn’t sit with your worldview, then I want you to put your kids and your community on the other side of the ledger and think about society. By you not pursuing things in an ambitious way, you’re not as capable to serve your family, community, and society. It has to be about something other than your self-image. If we’re so attached to our self-image that ambition can’t be a part of how we see ourselves, then we need to change the way we view the motivation for ambition, which is to help others, not necessarily ourselves.”

—Holly Smithson, CEO, Athena

On asking for criticism…

“Late in 2015, after 10 years of working with my boss, he challenged me to rise to the next level. What did I foresee in my career? Where did I want to go? I told him: vice president. And he said, ‘You’re right, I see that potential in you.’ He made it very clear to me there was a path moving forward, but I had to make it happen. I put a plan in place. Part of that plan was for me to take on additional leadership roles within COI and the life sciences community. I put a committee together to rate me and my skills: Two VPs from public companies interviewed members of our senior staff. The investigative work went on for about six months. I wanted this to be no-holds-barred. If I was not deserving of it, then I can take that. But I was going to do everything I could so that I was deserving of this promotion. I achieved my promotion to VP of HR and Admin in late 2016, a year later.”

—Fran Senchak, Vice President, Human Resources and Administration, COI Pharmaceuticals

What San Diego Women Want

What San Diego Women Want

Reema Poddar | Photo: Flavio Scorsato

On how I got into STEM and am getting others into it…

“Growing up, I never thought I would be a computer science engineer. My passion was to become a doctor, because in second grade, my dad had five heart attacks in one day. I made up my mind: I’m going to be a cardiologist. I will save the world and no one will ever go through what we are going through. The first time I touched a computer was when I was in grad school in Bangalore. The way that technology has transformed from then to now, I’ve been able to touch more patients with the software and technology I built at General Electric than I would have if I’d been a cardiologist.

You see a lot of women pursuing technology degrees, but then they drop it because they don’t understand how you can apply this. If you don’t share the story of how technology changes the world, you’re really not creating an interest in the area. GE Girls was a big initiative I started. We’d go to middle and high schools and bring them to the company for mini courses. I wish I could’ve done it when I was girl! We show them it’s not just about coding; there are several aspects. How do you listen to the customer? You need the skills of empathy; if you’re a good writer you capture the story and then you work with the engineers to break it down. So at GE, with that concept we came up with the idea of hiring 20,000 female technologists by 2020—not just engineering, but sales, marketing, product management, and testing. And they’re on track to get there.

At Teradata we have a mentorship program called Terabytes. It also provides a social network with activities and opportunities for learning and building relationships, and they also see how we are investing in them.”

—Reema Poddar, Senior Vice President of Product Development, Teradata Corporation

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Arts & Culture SEPTEMBER 4, 2026

What’s Next for Arts and Culture in San Diego?

Artists and advocates are building a more sustainable creative future through public funding, political organization, and cross-border collaboration

What’s Next for Arts and Culture in San Diego?
Photo Credit: Katie Gardner & Matt Furman

This is part of a three-part series. This is Act III. See Act I and Act II here.

The Future

We’ve been here before.

In 2012, city funding for the arts and culture in San Diego had eroded. As a corrective, the city council unanimously approved “Penny for the Arts”—a promise to dedicate roughly one penny of every dollar spent on hotel rooms (the Transient Occupancy Tax, or TOT).

The logic was fair and sound: Cultural institutions and events help attract visitors. Those visitors pay hotel taxes. So, the people agreed, some of that hotel-tax revenue should go back into maintaining the cultural ecosystem that helps bring those visitors and that money.

Projected as a five-year plan, the measure was supposed to increase funding to $17.9 million by 2017.

It never did. The penny was never guaranteed, so each year the city used part of it for other priorities. By 2023, the money going to arts and culture was up to about a half a penny. Even as TOT revenue has gone up significantly.

In 2019, TOT revenue was $245 million.

In 2025: $325 million.

One fix would be to guarantee the penny. Not simple, given San Diego’s financial woes. But the alternative—eroding the culture that makes San Diego San Diego, give it its identity—also doesn’t feel wise. Plus, even a locked percentage still rises and falls with tourism, which is why culture advocates want a guaranteed floor on top of it.

Another solution would be to give the arts commission actual authority.

“It’s an advisory body,” says arts commissioner Kamaal Martin. “You’d be hard-pressed to find anybody who takes our advice.”

Photo Credit: Katie Gardner & Matt Furman

He described the commissioners debating real, consequential questions this year, like whether and how to divide the cuts between funding pools. But those conversations “don’t connect to whoever’s actually deciding,” Martin says. “We haven’t been entrusted with decision-making about relevant things nearly enough.”

Christine Martinez is building political infrastructure through her organization Arts+Culture:San Diego—which is starting a 501(c)(4) lobbying structure not unlike police and fire unions. Martinez is also keeping her community actively engaged. “We won’t be caught off guard next year like we were this year,” she tells me.

Then there’s the evergreen issue of affordability and accessibility. Kiplinger’s most recent report ranks San Diego as the 11th most expensive city in the US, based on cost of living. The average home value is $980,700 (the US median is $540,000), but San Diego’s median household income is only one-third greater than the national level. Rent is also 66 percent higher than the national average ($2,716 vs. $1,636).

This is why San Diego has long suffered from the creative brain drain—creatives leaving for more affordable cities. “Artists are free to live wherever they want, and they will go where the rent is affordable,” says Jennifer de Poyen of Space 4 Art. “When they leave, they take their gifts with them, and their contributions, and their economic impact.”

One saving grace is the presence of Tijuana, where the cost of living is about 60 percent lower than San Diego, per Numbeo. Tijuana has long functioned as an affordable neighborhood for many in San Diego’s creative culture. It’s part of the reason why the binational identity is such a constant in our galleries, music, theater, murals, and culture. While that cross-border blood flow is one of San Diego’s most compelling attributes, few artists living that life would call it convenient or easy. A city is at a disadvantage when its culture creators have to cross a border to go home at night, and cross again the next morning to work.

In May, San Diego County Board of Supervisors approved a $2.75 million arts initiative of its own. It includes an Artist Space Grant Program aimed directly at the affordability crisis, as well as an artist-in-residence program, a dedicated Binational Creative Economy Investment, and a one-time investment in the Black Arts and Culture District in Encanto.

Bob Lehman of San Diego Art Matters has been doing county-level, binational organizing for years; in 2023, he helped get the county’s arts commission reestablished after 30 years of defunctness. That’s important because it gives arts and culture an official seat in county government, advising the County Board of Supervisors on arts and culture policy. He also brought in consultant Laura Zucker, who ran LA County’s arts program for three decades, to build a real regional plan.

“I really believe we’ll have something set up here that other communities come and look at,” he told me. “A national template other cities come to learn from.”

When asked who decides which artists will get the new grant money, county arts commissioner and executive director of the Chicano Park Museum and Cultural Center Monica Delgadillo Hernandez doesn’t hedge.

“That’s part of the infrastructure we’re going to be building,” she says. “What should a panel of reviewers look like? Should it be the commissioners? Should it be other folks? A supervisor?” She was just as candid that the commission itself doesn’t reflect San Diego’s population—Chicano communities are roughly a third of the city, she tells me, “and that’s not represented at the table yet.”

Photo Credit: Katie Gardner & Matt Furman

What Other Cities Prove Is Possible

The great news is that none of these solutions have to be invented from scratch. Numerous cities serve as examples of what’s possible—if we have the will.

Jonathon Glus—Prebys Foundation Senior Fellow for Art & Design, the Executive Director of the Art + Design District, and board president for California for the Arts—worked in Houston before coming to San Diego. The Texas city dedicates 74.5 percent of its hotel tax to arts grants by formula, and that support is guaranteed. Washington, DC locked in dedicated arts funding in 2019. Salt Lake City, my hometown, has run a voter-approved arts tax for almost 30 years, most recently reauthorized through 2034. And just this summer, New York City pushed cultural funding to a record $323.8 million, even incorporating an emergency fund.

Denver’s model is interesting because instead of a city-dependent funding model, theirs is a 0.1 percent regional sales tax. In place since 1988 and renewed by voters three times, their Scientific & Cultural Facilities District has distributed between $54 million and $85 million to arts, culture, and scientific orgs—each of the last 12 years.

This is part of a three-part series. This is Act III. See Act I and Act II here.

None of these cities got there by accident. They decided, on purpose, that arts and culture were worth protecting from politics—and, in some cases, worth building an entire identity around.

“That’s how Miami has flipped the switch,” says Glus. “People go to Miami for culture as much as they do the beach.”

San Diego has spent decades selling itself backward: Beach and weather first, culture as an afterthought you might stumble into. Glus would love to see the strategy flipped: Visitors should come for the art, “and then, by the way, you’re on the beach.”

Photo Credit: Katie Gardner & Matt Furman

So What Happens From Here?

“I do think it was a wake-up call for the community,” de Poyen says of the budget fight. “People understand that our funding is vulnerable. It was a lesson in how much power people have when they coalesce. But wow, is it painful.”

Glus says he’s genuinely optimistic. “The players have all changed seats, but the work is moving forward.”

“I believe optimism is a moral duty,” says Martin, who’s both power-fist and polite.

In eight months, there will be another budget fight. Everyone I talked to expects it will be worse. But something happened this spring that can’t be undone.

“I hope this rupture has brought us together in a moment of self-realization,” says Leticia Gomez Franco of the Balboa Art Conservation Center. “I hope we stop being so transactional; we begin to see ourselves and each other as partners in this work.”

That’s the whole ask, really. And it’s on all of us.

This is part of a three-part series. This is Act III. See Act I and Act II here.

A

About Aaryn Belfer

Aaryn Belfer is a writer and editor specializing in nonfiction across art, architecture, and culture. Once upon a time, she wrote a provocative column for San Diego CityBeat (RIP). She was a runner up in the 2025 Matchbook Stories contest at the San Diego Central Library and is irrationally happy about it. Currently in her Soft Girl Era, Aaryn has expensive taste in (mostly flat) shoes and will choose a great art exhibit or live jazz concert over almost anything else. Except, possibly, Javier Bardem.

Art Arts & Culture
Arts & Culture SEPTEMBER 4, 2026

How San Diego Became a City of Art and Culture

The history, communities, and creative movements behind a cultural scene that extends far beyond the city’s postcard image

How San Diego Became a City of Art and Culture
Photo Credit: Katie Gardner & Matt Furman

This is part of a three-part series. This is Act II. See Act I and Act III here.

Without concrete, wildflowers are just weeds. Any honest history of San Diego art and culture is tension and its reckonings. It begins before the name existed, with the Kumeyaay. It must pass through the Panama-California Exposition, one hell of a county fair that conjured Balboa Park as our grand cultural stage. It pays tribute to the lights of La Jolla, where the donor pool helped realize unrealizable things. It should mention names like Marston, Scripps, Ochoa, DeWitt, Lopez, Klauber, Baldessari, Torres… so many.

In short spaces like this, long histories like that become roll calls. So this is more of a walk through pressure points, notes on recurring forces and regional oddities.

Border life is key to understanding the here of here. Art without dialogue is just decoration. At its best, that dialogue should be a tad muddy, emotionally gassed. In other words, it should be in need of art—to widen perspective, parse meaning, see the unseen.

San Diego’s central dialogue—the magic and the stressor—is being flatmates with Mexico’s second-largest city by population. That makes San Diego a swing-gate of shared and vastly different perspectives, both its own place and something larger. And in no other major city in the US do the fresh flow of ideas from two countries—different governments, laws, mores, expressions, arts, cultures, traditions, economies, loves, and resentments—mingle at such a constant daily rate (due respect to El Paso).

That binational steam created Chicano Park, one of the most uniquely San Diegan contributions to national and international culture. When construction of the I-5 and Coronado Bridge divided Logan Heights, neighbors protested by transmuting prejudicial concrete into redwoods of Chicano art. Turning a civic wound into a beautiful and enduring landmark that expressed and preserved a core identity—like East Side Gallery in Berlin or Constitution Hill in Johannesburg—is damn near the core of what art is supposed to do.

Like any city, the underground-overground friction is crucial in San Diego. Our culture is headlined by institutions that lift creative work onto national and international stages: MCASD, The Nat, SDMA, Centro Cultural de la Raza, the Symphony, WorldBeat Center, The Old Globe, La Jolla Playhouse, Mingei, Museum of Us, Stuart Collection, Timken, ICA, Comic-Con, etc. The next mutations grow in the seams: street murals, music dives, tattoo shops, wheatpasted walls, graffiti, lowriders, surf and skate art (though in San Diego, this is mainstream), pop-up shows, backyard shows, beach raves, any place with room for people and a loose relationship with regulations.

Photo Credit: Katie Gardner & Matt Furman

Both art and culture get their power from power. They’re fundamentally a conversation with and retort against dominant structures. San Diego’s most pervasive structure is arguably the most rigid form: the military. Its presence is heavy in the southern tip (Border Patrol), the middle (Navy and MCAS Miramar), and northern edge (Camp Pendleton). The military is San Diego’s largest employer, by a long shot.

Within this plus-sized environment of order and hierarchy, it’s understandable that Shepard Fairey’s “OBEY” posters in the late ’90s struck such a potent chord. The most compelling punk rock is often outside a strong governor’s window. (The “OBEY” series featured an ominous, propaganda-style André the Giant wheatpasted on random ugly surfaces across San Diego—launching Fairey’s style that he eventually used for Obama’s “HOPE” poster.)

Armed forces are often viewed as the absence of creative culture—understandably so, since rogue individual expression feels like a pretty sure way to sink a war effort.

But in San Diego, the Navy’s unsuspecting role as art creator—directly or indirectly—is hard to ignore. Tattoos are a dawn-of-time practice of many early cultures, including the Kumeyaay. But Polynesia was a core realm. Sailors were exposed to it on deployment in the Pacific Rim, inking their arms with the names of loved ones and unit insignia. Back in San Diego, they’d flaunt those tats in the beaches and bars of Mission Beach or PB (Marines did the same in Oceanside.) Enlistees were the muscular flesh galleries that helped turn skin art into one of the city’s most widespread modern art forms.

During WWII, the military also trained huge legions of San Diego laborers how to build war machines. Those mechanics, engineers, machinists, welders, painters, and metal fabricators used those skills for creative good in their neighborhoods—especially in custom car culture, which took off in the post-war ’50s and ’60s. Mexican-American vets helped develop the lowrider scene, a deeply rooted part of San Diego creative expression. Galleries on slow-moving wheels.

Tourism is the other mainstream force ripe for creating against. It is both critical to San Diego’s economy, and one of the greatest barriers to deeper, more nuanced expressions of what and who San Diego is. The industry of selling our city to passers-through creates a gigantic tarp of cultural tropes. It reinforces the most obvious charms—cute zoo animal takes in an epic sunset with a giant margarita—and doesn’t yield much airspace to the thrilling micro-cultures that live and breathe where locals live and breathe. Nothing against watercolors of dolphins, but much against the hegemony of watercolors of dolphins.

Maybe because of these dominant forces, San Diegans especially tend to force underground and institutional art into a needless cage match. It’s human instinct to champion the underdog as more worthy, but that has always felt like a form of articide.

Photo Credit: Katie Gardner & Matt Furman

It’s like saying the only good food is made by gritty upstarts who crafted their own whisks from discarded shopping carts. Most of those plucky whisk-makers would love to eventually be paid properly, would love a stage, a grant, a building, a donor, a lighting rig, health insurance, maybe even one chair that doesn’t threaten the spine.

That’s what the major institutions do. Both stages—the duct-taped and the donored—serve vital roles and deserve commensurate support if we care about the entire lifespan of creative expression and not just its first exciting steps. Championing the starving artist exclusively just secures an enduring poverty for the creative class at large.

I’ve often theorized it’s harder to create great art and culture in cities like San Diego, where the climate is supernaturally pleasant. In colder/hotter/rainier/less beautiful cities, people are forced indoors to fabricate their own beauty (the grunge music of Seattle, the obscene creative output of Reykjavík). San Diego’s eternally mild sunshine tends to make the human body our art medium of choice. But scratch the surface of that surf poster (and I’ve only scratched a miniscule percent here), and this city’s far from the cultural shallows it gets accused of being.

Addendum: A Personal Agenda. In scouting the route of art and culture across San Diego county through history, two areas come up again and again: La Jolla and Barrio Logan. So I propose a collaboration between two icons of artful concrete—Chicano Park and Salk Institute (one of the world’s great examples of brutalism architecture). Let Barrio Logan’s muralists go nuts on that coastal science fortress, unite the realms for a moment in time.

This is part of a three-part series. This is Act II. See Act I and Act III here.

Troy Johnson

About Troy Johnson

Troy Johnson is the magazine’s award-winning food writer and humorist, and a long-standing expert on Food Network. His work has been featured on NatGeo, Travel Channel, NPR, and in Food Matters, a textbook of the best American food writing.

Arts & Culture SEPTEMBER 4, 2026

San Diego Restored Arts Funding—But the Crisis Isn’t Over

The city’s cultural sector regained millions after a proposed 85 percent cut, yet nonprofits, youth programs and major institutions still face painful losses

San Diego Restored Arts Funding—But the Crisis Isn’t Over
Photo Credit: Katie Gardner & Matt Furman

This is part of a three-part series. This is Act I. See Act II and Act III here.

Every spring, Christine Martinez reaches out to the arts community to explain what’s on the line, hoping they’ll engage with the city’s budget process. Cultural funding, she constantly reminds, is almost always strapped to the guillotine. Especially in a city strapped for cash.

“It’s not an easy ask,” says Martinez, manager of Arts+Culture:San Diego. “Showing up is a real cost for small, volunteer-run groups that can’t spare half a day at City Council without possibly having to close their doors.”

Then, last April—with one day’s notice to arts leaders—Mayor Todd Gloria proposed a budget that didn’t trim arts funding; it eviscerated it, from $13.8 million to $2 million. An 85 percent slash. Other city departments faced cuts of about 7 percent.

The scheduled date of the cuts was just three months away (beginning of the fiscal year). Organizational leaders have to plan months if not years ahead to run their organizations. They had made hires, dedicated spending, and programmed their seasons based on a reasonable expectation that support for the arts would be somewhat in line with previous years. (The City has allotted at least $7 million a year to arts every year for the last 20 years, and the last four years have ranged between $13.8 and $18.2 million.)

The day felt even more existential given the national and international climate around the arts: namely, the federal government’s repeated proposal to eliminate the country’s two biggest cultural foundations (NEA and NEH), and the global trend of AI replacing more costly human creatives.

“It shocked everybody,” says Kamaal Martin, arts commissioner and co-founder of Art Power Equity. “If the message had been, ‘Times are tough, everybody tighten their belts a little,’ it would have landed differently. But there was no vision offered for the future, no parity in the cut. It was just, essentially, ‘Fuck you.’”

Among things I’m good at—sleeping late, low bidding for expensive shoes on Poshmark, parallel parking on either side of the street—budget analysis isn’t among them. In trying to understand how bad the finances were for San Diego to propose this drastic cut, I found myself drowning in numbers, pie charts, and politi-speak.

In his April 27 newsletter, Gloria explained that balancing the budget means “asking hard questions about every single dollar this city spends: Is this a core responsibility of city government, or is it something we do when we can afford to?”

Fair enough—if he were to ask those hard questions about every single dollar this city spends. It also makes his conclusion clear: The City of San Diego does not view supporting arts and culture as a core responsibility.

Which begs more than a few questions: Should the City be responsible? If not, then who? How crucial are arts and culture to a city? And since this is a budget discussion, how much revenue does the arts and culture industry generate for San Diego? What’s the ROI?

Photo Credit: Katie Gardner & Matt Furman

The Impact of Arts & Culture

$1.2 billion.

That’s how much economic activity San Diego’s arts and culture nonprofits generated in 2022, according to the City’s latest Arts & Economic Prosperity 6 report. The industry created nearly 17,000 jobs and generated $878 million of personal income for local residents. About 15 percent of the people showing up to arts events in San Diego are tourists, so money was raised through TOT (Transit Occupancy Tax). The activity generated $275.7 million in tax revenue to the city.

In other words, the ROI seems to be ROI-ing.

Still, there have been signs that cuts were coming. In 2025, the City demoted the Department of Cultural Affairs to a division, folding it into the Economic Development Department (EDD). That meant Cultural Affairs no longer had independence, nor its own leader sitting at the same organizational level as departments like parks and recreation, library, police, and fire. It lost institutional leverage and would now have to compete with other EDD priorities—real estate, airport operations, business development, etc.—for budget allocation.

To be clear, few arts administrators and leaders I spoke with are interested in the either/or false choice of funding law enforcement or after-school programs; the fire departments or libraries. They’re sincere in looking for solutions that don’t leave any single group with a greater burden of righting a long-out-of-balance budget.

Jennifer de Poyen, executive director of Space 4 Art, says Gloria had long been a supporter of the arts, which made his attempted Red Wedding especially upsetting.

A

About Aaryn Belfer

Aaryn Belfer is a writer and editor specializing in nonfiction across art, architecture, and culture. Once upon a time, she wrote a provocative column for San Diego CityBeat (RIP). She was a runner up in the 2025 Matchbook Stories contest at the San Diego Central Library and is irrationally happy about it. Currently in her Soft Girl Era, Aaryn has expensive taste in (mostly flat) shoes and will choose a great art exhibit or live jazz concert over almost anything else. Except, possibly, Javier Bardem.

Art Arts & Culture
Studio S SEPTEMBER 9, 2026

Meet ArtsConnect, UC San Diego’s Invitation to SoCal Arts Lovers

ArtsConnect brings those experiences into view, helping residents discover what they can see, hear and create at UC San Diego while experiencing the campus in a new way.

Meet ArtsConnect, UC San Diego’s Invitation to SoCal Arts Lovers
Courtesy of UC San Diego

Ask most people what UC San Diego is known for, and the arts may not be the first answer. Yet this fall, San Diegans can watch Ghostbusters with a live orchestra, try their hand at glassmaking and wander among more than 20 works of public art woven throughout the university’s La Jolla campus.

ArtsConnect brings those experiences into view, helping residents discover what they can see, hear and create at UC San Diego while experiencing the campus in a new way.

Courtesy of UC San Diego | Photo Cred: Erik Jensen

“The arts are at the heart of UC San Diego’s student-centered mission and vision,” says Alysson Satterlund, Vice Chancellor for Student Affairs and Campus Life. “Whether creating, participating in, or experiencing performances, the arts are essential to a healthy and truly fun Triton student experience.”

That invitation often begins where the arts intersect with other fields.

“Some of the most innovative work and discovery happen where disciplines don’t usually share a stage,” says Cristina Della Coletta, Dean of the UC San Diego School of Arts and Humanities. “So through our unique intersection of the arts with science, technology, and medicine, we are improving lives, physically and emotionally.  

Take The Inaudible Ocean, a collaboration between Department of Music Professor Lei Liang and Scripps Institution of Oceanography Assistant Project Scientist Josh Jones. Over eight years, the pair recorded earthquakes, ship noise, whale songs and other sounds in remote underwater locations. They transformed those recordings into a live music experience that allowed audiences to hear the ocean in an entirely new way. The work premiered on campus in May and continues to evolve.

The arts also connect the campus to the global art world and diverse perspectives. Chief Campus Curator Jessica Berlanga Taylor recently curated the Mexico Pavilion at the 61st Venice Biennale, featuring RojoNegro, the collective formed by Noé Martínez and María Sosa. The collective will unveil a compelling new permanent installation for UC San Diego’s celebrated Stuart Collection later this fall. 

ArtPower offers another easy entry point, bringing touring performers to venues including the outdoor Epstein Family Amphitheater and the intimate Loft. The nearly three dozen performances featured through its 2026-2027 season span music, dance, film, theater and conversation. 

Among the fall highlights is Ghostbusters in Concert on Sept. 25, pairing the beloved 1984 film with a live performance of Elmer Bernstein’s score. Tickets start at $35, and the amphitheater is located next to the UC San Diego Blue Line trolley station.

“Every member of our community should have access to world-class art, so we work hard to remove the barriers that stand in the way,” says Colleen Kollar Smith, executive artistic director of the Campus Performances and Events Office. “That means affordable ticket prices, and performances, voices and experiences where people see themselves reflected on stage and know they belong.”

The arts at UC San Diego are not only something to watch. The Craft Center offers public classes and workshops in ceramics, jewelry, woodworking, culinary arts and even surfboard shaping. At the new Glass Center, beginners and experienced makers can explore glassmaking through classes, demonstrations and studio experiences.

Whether you want to attend a performance, make something yourself or spend an afternoon exploring public art, there is an easy way in. And the invitation extends well beyond students and alumni.

Kollar Smith says it best: “Visit, participate, spectate or create. You’re invited, and we hope you’ll connect with us soon.”

Explore upcoming experiences at ucsd.edu/artsconnect.

Partner Content
Arts & Culture SEPTEMBER 2, 2026

31 People Shaping San Diego’s Creative Scene

Meet the artists, makers, and advocates whose work shapes how the city looks, sounds, gathers, and connects

31 People Shaping San Diego’s Creative Scene
Photo Credit: Katie Gardner & Matt Furman

San Diego is full of people who deserve a few thousand words on what they make, who they bring together, and how their work changes the city around them. The artists, makers, advocates, and behind-the-scenes talent below are a small part of that larger ecosystem.

To help us narrow our list, we looked for names that kept coming up, work that reflects the diversity of our region, and people building something bigger than themselves.

Jackie is a long-time freelance journalist covering cannabis, food/restaurants, travel, labor, wine, spirits, arts & culture, design, and other topics. Her work has been selected twice for Best American Travel Writing, and she has won a variety of national and local awards for her writing and reporting.

Isabella Dallas is a freelance writer for San Diego Magazine and the Arts and Culture Editor at The Daily Aztec in her final year at San Diego State University. She previously worked as an editorial intern for SDM, but when she’s not writing, you can find her trying the best coffee spots in SD, devouring the latest rom-coms, and indulging in anything and everything pop culture.

Matt Eisenberg is an award-winning writer and photographer based in San Diego. A former ESPN editor, his work has also been published by CNN, Bleacher Report and the New York Daily News.

A

About Aaryn Belfer

Aaryn Belfer is a writer and editor specializing in nonfiction across art, architecture, and culture. Once upon a time, she wrote a provocative column for San Diego CityBeat (RIP). She was a runner up in the 2025 Matchbook Stories contest at the San Diego Central Library and is irrationally happy about it. Currently in her Soft Girl Era, Aaryn has expensive taste in (mostly flat) shoes and will choose a great art exhibit or live jazz concert over almost anything else. Except, possibly, Javier Bardem.

Leorah Gavidor won her first essay contest at age 5. She writes features, news, and non-fiction in San Diego.

Lili Kim

About Lili Kim

Lili Kim is a content coordinator and writer for San Diego Magazine, with experience highlighting local businesses and communities. When not writing or shooting film, she is likely brewing her seventh cup of tea of the day or strolling along Sunset Cliffs.

Emma Veidt

About Emma Veidt

Emma Veidt is an editor at San Diego Magazine. She earned her bachelor's and master's degrees from the Missouri School of Journalism. She loves running, hiking, and rock climbing, but really, she mostly loves encounters with the street cats around North Park.

Gail Czyszczon is owner/copywriter at Z3 Writing and best-selling author of a children’s book series. As a strategic communications professional and editorialist, she's passionate about discovering untold stories and themes that ignite fresh conversation and true change in communities.

Everything SD SEPTEMBER 1, 2026

Guest Publisher’s Note, September 2026: The Arts Edition

For Jonathon Glus, San Diego’s next chapter begins with the artists who help us understand where we’ve been

Guest Publisher’s Note, September 2026: The Arts Edition
Photo Credit: Katie Gardner & Matt Furman

Some ancient philosophers believed that humans experience seven-year life cycles or phases of life. Some went so far as to believe that every cell in the body regenerates every seven years.

Much later, in the 1800s, Austrian philosopher, architect, and social reformer Rudolf Steiner developed anthroposophy—an integration of science, art, and spirituality—into his understanding of the human experience. Steiner believed that each of us changes every seven years—from spiritual beliefs to physical evolution—and art is the connective tissue through each of these cycles. Still today, Steiner’s teachings are foundational to the principles of Waldorf education.

While I’ve certainly experienced more than a few human life cycles of my own, I believe that, just like us, cities have their own life cycles.

Cities are living organisms, regenerated every day by the people that live, work, and gather there. Environmental changes, human migration, economic shifts, technological advances, politics, and public policy—they all inform a city’s evolution, sometimes intentionally and sometimes by forces outside of our control. But ultimately, we as humans respond, adapt, and sometimes make our most important new advances.

Photo Credit: Matt Furman

In the aftermath of World War II, in 1947, the Edinburgh International Festival was established to promote international peace through the performing arts. Today, that festival continues as a global gathering place to experience some of the world’s most innovative dance and theater.

In post-revolution Mexico, that country’s government launched a monumental muralism program to celebrate the history of its Indigenous cultures. Today, that tradition still informs the way Mexico tells its stories and how we understand its history.

Here in the US, the National Endowment for the Arts was established in 1965, at a time when the arts were seen as part of our national strength and resilience. For the first time, federal funds were directed to communities across the country to invest in the arts at a local level.

San Diego may be relatively young as a major American urban center, and even younger on the world stage, but our region as home to humans is ancient. Today, we love a San Diego that is built on roads and traditions of the Kumeyaay Nation, where we share a modern mega-region with our sister city and cultural twin, Tijuana, on unceded Kumeyaay land.

History has shown us that the arts generate the very human connection and understanding that allows our politics, policies, technological advances, and human migration to move forward. In that way and more, the arts are the very heartbeat of our city.

In this issue of San Diego Magazine, we celebrate the artists, creatives, culture bearers, and workers who keep our region connected and in conversation as we take on challenges big and small—internationally as well as on our own neighborhood streets.

Artists are our storytellers. They respond to and chronicle the best and the worst of us—our foibles and weaknesses, our struggles, and, undeniably, our successes.

Now: a look back into the past seven years in history. They have not been a walk in the park, with a pandemic, global unrest, and shifting domestic politics as only a few forces that have challenged our lives and our region. Together, we experienced some of our greatest struggles and witnessed tremendous resilience.

That’s exactly why this is an exciting time for the arts in San Diego. We are on the precipice of an even more fertile, sustained, and inclusive time for the arts in our region.

In some ways, Covid seems like an eternity ago. I remember all too well the massive economic impact on our cultural institutions, some of which have never fully recovered. I remember the mass layoffs of the workers who keep our arts institutions going and the teaching artists who were suddenly out of work.

I also remember the poets, filmmakers, actors, and musicians who helped us grapple with the disruptions of the pandemic. Our communities became virtual, and artists gave us the space to make sense of it all.

In fact, a common phrase emerged from the Covid: artists as second responders.

Still today, I think about the short film made by San Diegans Susanna Peredo Swap and Gill Sotu called History of Joy, which captured so brilliantly what we were experiencing during those days of lockdown.

Since then, as an arts community, we’ve pushed forward transformational work that we will continue to build upon in this next seven-year cycle and well beyond.

Hundreds of artists and culture bearers have spent the past several years going to work with community groups across the region as part of Far South/Border North, our region’s component of the California Arts Council’s groundbreaking artist work program, Creative Corps. The impact resonated so deeply that local government and philanthropy partnered for a second iteration, Artist Count, this time a binational initiative launched just a few months ago.

We’ve invested mightily in cultural infrastructure. Need some examples? There’s the reimagined Jacobs Music Center and Museum of Contemporary Art San Diego, the Black Arts & Culture District, the state designation of Arts District Liberty Station, and now the burgeoning Art + Design District downtown.

World Design Capital San Diego Tijuana 2024 elevated what we already knew—that the two neighboring cities are culturally and creatively intertwined as one region—and boosted our global presence as a creative juggernaut. Artists, designers, and community leaders worked together to produce more than 600 events across our region that year, and the impact continues.

And “Creative City,” the City of San Diego’s first cultural plan that incorporates arts and culture advancements in the city’s development, was crafted by thousands of San Diegans as a roadmap to take us into the future.

Here’s what I know about the past seven years: San Diego’s artists, creatives, and culture bearers showed up for our region as our storytellers, second responders, and creative workforce.

And for the next seven? San Diego will morph and change, as every city does. Sometimes because of us, sometimes in spite of us. But our city’s creative community has a solid foundation on which to build, led by the artists who witness and tell our stories each and every day.

Jonathon Glus, Conrad Prebys Foundation’s Senior Fellow for Art and Design in Residence at the Downtown San Diego Partnership

Partner Content AUGUST 21, 2026

This Scripps Clinic Physician is Serving Up Care

Laika Nur, MD, takes her love of volleyball from the court to the clinic as team physician for the San Diego Mojo

This Scripps Clinic Physician is Serving Up Care
Courtesy of Scripps Health

Growing up, Laika Nur, MD, Scripps Clinic sports medicine specialist, loved watching beach volleyball when the Association of Volleyball Professionals tour came to her hometown of Chicago. A talented volleyball player herself, she remembers sitting in the stands all day, and once, even got a couple autographs. Years later, Dr. Nur was attending a professional event focused on women’s sports, and the discussion turned to a new professional women’s volleyball league. The general manager and coaching staff  for San Diego’s team, the Mojo, happened to be in attendance, and Dr. Nur took the opportunity to ask them if they needed a team doctor. Flash forward to the Mojo’s inaugural 2024 season, when Dr. Nur officially became the team physician. Click here to read more about Dr. Nur and how she incorporates lessons she learned on the court into her practice. 

For more nutrition, wellness, and healthy living tips, sign up for the San Diego Health newsletter here.

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